1929

Galerie Georges Petit, Paris
Oscar Ghez, Geneva
Sale: Hôtel Drouot, Paris, June 22, 1988, lot 90
Galerie Brame & Lorenceau, Paris
Sale: Me Loudmer, Hôtel Drouot, Paris, November 17, 1991, lot 55
Private Collection (acquired at the above sale and sold: Christie's, New York, May 10, 2001, lot 367)
Acquired at the above sale

Daimaru Museum, Osaka, Umeda; Daimaru Art Gallery, Tokyo; Cultural Center of the Fukushima Prefecture, Fukushima; Marui Imai Art Gallery, Sapporo & Daimaru Art Gallery, Hakata, Trésors du Musée Petit Palais Geneva, 1983

Yann Farinaux-Le Sidaner, Le Sidaner, L'Oeuvre peint et gravé, Paris, 1989, no. 677, illustrated p. 250

The canvas is not lined and UV examination reveals no evidence of retouching. This work is in very good condition.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

La Maison du canal is a wonderful example of Le Sidaner’s work at the height of his career, wherein he achieved bolder lines and a more vibrant palette while losing none of the deep sense of serenity for which his works are celebrated. The reflection of the sun on the river gently awakens the scene; one can feel the delicate warmth emanating from its surface. Life slowly returns as the sun rises and the artist intuitively captures the atmosphere of this brief suspended moment.

Critics have frequently described Le Sidaner’s works in terms of musicality and silence. Always in a "minor key," the subtle harmonies of his palette are seen to evoke a wistful mood that is exacerbated, as Paul Signac notes, by the absence of figures: "His oeuvre displays a taste for tender, soft and silent atmosphere. Gradually, he even went so far as to eliminate all human presence from his pictures, as if he feared that the slightest human form might disturb their muffled silence" (quoted in Yann Farinaux-Le Sidaner, op. cit., p. 31). Instead, the artist focused on the architectural and domestic environments as well as their accoutrements, the elements man creates for himself. "He considered that the silent harmony of things is enough to evoke the presence of those who live among them. Indeed, such presences are felt throughout his works. Deserted they may be, but never empty" (Camille Mauclair, Henri Le Sidaner, Paris, 1928, p. 12).